We've had incredibly huge obstacles in our way - no tapes, no royalties, no cooperation on any level - and we sort it out.

I wasn't making music for the sake of music but rather making music in the context of other music. At the same time, it doesn't mean I'm not going to try and do that some day.

In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.

I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.

Digital might capture the dynamics of what I heard before it went to tape a bit more accurately, but on the other hand, when we'd switch from listening to the digital version to the analog, the change was so profound - the music would suddenly go three-dimensional, and it felt much more engaging.

I had the time to take the original analog tapes and fix all the things I didn't like, so all I left was essentially the benefits of the analog with none of the disadvantages.

Most people just give up with time and go, "I'm a victim." The only reason I've got the reputation for delays and spending a long time on things is because I just don't stop.